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edited by John Sallis McMullen Museum of Art, Boston College [This blank page deliberately inserted by Boston College Digital Libraries staff to preserve the openings of the analog book.] edited by John Sallis McMullen Museum of Art, Boston College Distributed by The University of Chicago Press 0 2 This publication is issued in conjunction with the exhibition Paul Klee: Philosophical Vision; From Nature to Art at the McMullen Museum of Art, Boston College, September 1 - December 9, 2012. Organized by the McMullen Museum, in collaboration with the Zentrum Paul Klee, Bern, Paul Klee: Philosophical Vision; From Nature to Art has been curated by John Sallis in consultation with Claude Cernuschi and Jeffery Howe. The exhibition has been underwrit- ten by Boston College, the Patrons of the McMullen Museum, and the Newton College Class of 1967, with additional support from swissnex Boston and Swiss International Air Lines Ltd. S* ^3Swiss Library of Congress Control Number: 2012939001 ISBN: 978-1-892850-19-5 Distributed by The University of Chicago Press Printed in the United States of America © 2012 by the McMullen Museum of Art, Boston College, Chestnut Hill, MA 02467 Copyeditor: Kate Shugert Book designer: John McCoy Front cover: Paul Klee, Wall Plant ( Mauerpflanze ), 1922/153. Watercolor and pen on paper on cardboard, 25.8 x 30.2 cm, Museum of Fine Arts, Boston, Seth K. Sweetser Residuary Fund, 64.526. Photograph © 2012 Museum of Fine Arts, Boston. Back cover: Paul Klee, Eidola: Erstwhile Philosopher (EIAQAA: weiland Philosoph ), 1940/101. Chalk on paper on cardboard, 29.7 x 21 cm, Zentrum Paul Klee, Bern, PKS Z 2128. Photo credits: Art Resource, NY © The Metropolitan Museum of Art: plate 13; Kerry Burke (Boston College): plate 5; Imaging De- partment © President and Fellows of Harvard College (Harvard Art Museums): plates 3 -4, 15, 18, 21 -24, 28, 61, 64; Petegorsky/ Gipe (Smith College Museum of Art): plates 7, 12; SCALA/Art Resource, NY © The Museum of Modern Art: plates 34, 37, 55, 65; Peter Schibli (Fondation Beyeler, Riehen/Basel): plate 45; Laura Shea (Mount Holyoke College Art Museum): plates 33, 63; Peter Siegel (Colby College Museum of Art): plate 6. This publication is funded in part by the Peggy Simons Memorial Publications Fund - PEGGY SIMONS memorial If PUBUCAT1C3KS KVM> // Contents Nancy Netzer Director's Preface 5 John Sallis Introduction 7 Paul Klee On Modern Art 9 John Sallis Klee's Philosophical Vision 15 Alejandro Arturo Vallega Paul Klee's Vision of an Originary Cosmological Painting 25 Claudia Baracchi Paul Klee: Self-Portrait of the Artist as a Tree 35 David Farrell Krell Klee and Novalis: Apprentices at SaVs 45 Dennis J. Schmidt Paul Klee and the Writing of Life 55 Charles W. Haxthausen "Abstract with Memories": Klee's "Auratic" Pictures 61 Marfa del Rosario Acosta Framing Klee's Window 77 Galen A. Johnson Metamorphosis and Music: Klee and Merleau-Ponty 85 3 Gunter Figal Pictorial Spaces: The Art of Paul Klee 99 Claude Cernuschi Paul Klee and Language 105 Eliane Escoubas A Polyphonic Painting: Paul Klee and Rhythm 135 Marcia Sa Cavalcante Schuback The Poetics of the Sketch 149 Damir Barbaric The Look from Beyond: On Paul Klee's View of Art 157 Jeffery Howe Paul Klee and the Unseen World: Ghosts, Somnambulists, and Witches 165 Stephen H. Watson The Sublime Continuum: Klee's Cosmic Simultaneities 185 Plates 197 Index 263 Contributors 267 4 Nancy Netzer Director's Preface In the fall of 2008, my colleague John Sa Mis in the Philosophy Department came to talk about his plans to organize an international conference at Boston College on the philosophical vision of Paul Klee, an artist who had been a mainstay of his scholarly inquiry for many years. He wondered if the McMullen Museum might mount a small display of Klee's works to coincide with the gathering. In a matter of minutes, after hearing the scope of the new research being undertaken, it became clear that the McMullen should try to organize not a small, but rather a major interdisciplinary exhibition exploring Klee's role in the world of philosophy—something that had never been attempted. John Sa Mis immediately agreed to serve as cura- tor and to contact scholars at the Zentrum Paul Klee in Bern. Juri Steiner, then the Director, and Michael Baumgartner, the Zentrum's Director of Research, responded with enthusiasm, generously agreeing to col- laborate on the project and to lend a large number of Klee's works to the exhibition. Art historian Gottfried Boehm at the University of Basel also offered to help with securing loans. Meanwhile, at Boston College, art historians Claude Cernuschi and Jeffery Howe of the Fine Arts Department began working with Sa Mis as consulting curators and contributors of essays for this catalogue to accompany the exhibition. In the latter task, they were joined by art historian Charles W. Haxthausen and philosophers Maria del Rosario Acosta, Claudia Baracchi, Damir Barbaric, Eliane Escoubas, Gunter Figal, Galen A. Johnson, David Farrell Krell, Dennis J. Schmidt, Marcia Sa Cavalcante Schuback, Alejandro Arturo Vallega, and Stephen H. Watson. Our principal debt of gratitude is to John Sa Mis. His vision for exploring how philosophical ideas con- ceived in Klee's writings and lectures were translated by the artist into line and color underlies all aspects of the exhibition and this volume. Sallis's mastery of the field, his years of dialogue with colleagues around the world, and his generous, engaging, and open manner have borne fruit in this endeavor and made it an enjoyable experience for everyone involved. It is with equal admiration, both scholarly and personal, that we thank our two colleagues Claude Cernuschi and Jeffery Howe. We also extend special thanks to Deputy Director/Consul Andreas Rufer of swissnex Boston and to Paul Klee's grandson Alexander Klee and his fam- ily, without whose assistance and support we could not have undertaken this project. Of course, none of this could have been accomplished without the contribution of colleagues at the McMullen Museum, across Boston College, and beyond. Diana Larsen designed the galleries to evoke the aesthetic of those in which Klee exhibited his work. In designing this catalogue and the exhibition's graph- ics and website, John McCoy echoed the Bauhaus style of the years when Klee taught at that school in Weimar and Dessau. Kate Shugert organized loans and photography, and she copyedited with extraordi- nary discernment the essays in this publication. Nancy Fedrow, John Sallis's assistant, contributed editorial and organizational assistance. Kerry Burke provided photographs and Jon K. Burmeister produced the catalogue's index. Interns Francesca Falzone, Liah Luther, Lauren Passaro, Molly Phelps, Emilie Sintobin, and Christina Tully helped with proofreading and loan processing. Anastos Chiavaras and Rose Breen from Boston College's Office of Risk Management provided valuable guidance regarding insurance. We are grateful to the University's Advancement Office—especially James Husson, Thomas Lockerby, Catherine Concannon, Mary Lou Crane, and Ginger Saariaho—for aiding funding efforts. 5 Friends and colleagues at other institutions assisted with loans and photographs: Amy Ryan, Susan Glover, and Karen Shafts (Boston Public Library); Sharon Corwin and Patricia King (Colby College Museum of Art); Nannette V. Maciejunes, Melinda Knapp, Jennifer Seeds, and Stefanie Wolf (Columbus Museum of Art); Lisa Fischman, Sandra Hachey, and Bo K. Mompho (Davis Museum and Cultural Center, Wellesley College); Sam Keller and Tanja Narr (Fondation Beyeler); Thomas W. Lentz, Mary Schneider Enriquez, Francine Flynn, Sarah Kianovsky, Nicole Linderman-Moss, Christopher Linnane, and Lynette Roth (Harvard Art Museums); William Stoneman, Hope Mayo, and Carie McGinnis (Houghton Library, Harvard University); Thomas P. Campbell, Emily Foss, and Gary Tinterow (Metropolitan Museum of Art); John R. Stomberg, Rachel Beaupre, and Wendy Watson (Mount Holyoke College Art Museum); Malcolm Rogers, Clifford Ackley, Marta Fodor, Patrick Murphy, Kim Pashko, and Stephanie Loeb Stepanek (Museum of Fine Arts, Boston); Glenn D. Lowry, Katherine Alcauskas, and Eliza Frecon (Museum of Modern Art, NY); Dorothy Kosinski, Joe Holbach, and Gretchen Martin (Phillips Collection, Washington, DC); Brent R. Benjamin, Diane Mallow, and Shannon Sweeney (Saint Louis Art Museum); Jessica F. Nicoll, Aprile Gallant, Louise Laplante, and Kathryn Kearns (Smith College Museum of Art); and Peter Fischer, Juri Steiner, Ursina Barandun, Michael Baumgartner, Heidi Frautschi, Edith Heinimann, and Myriam Weber (Zentrum Paul Klee, Bern). The McMullen could not have undertaken such a complex project of international scope were it not for the continued gener- osity of the administration of Boston College and the McMullen family. We especially thank President William P. Leahy, SJ; Provost Cutberto Garza; Chancellor J. Donald Monan, SJ; Vice-Provost Patricia DeLeeuw; Dean of Arts and Sciences David Quigley; and Institute of Liberal Arts Director Mary Crane. Major support for the exhibition was provided by the Patrons of the McMullen Museum, chaired by C. Michael Daley, and the Newton College Class of 1967. Additional support was provided by swissnex Boston and Swiss International Air Lines Ltd. This publication is underwritten in part by the fund named in memory of our late, and much beloved, docent Peggy Simons, an enthusiast of cross- disciplinary inquiry into works of art. To all mentioned above we extend heartfelt thanks. Nancy Netzer, Director and Professor of Art History John Sallis Introduction Although recognition of Paul Klee's artistic accomplishments has never really waned, a new wave of interest in his work arose in the first decade of this century. Major exhibitions were mounted in Paris, Basel, Frankfurt, Tubingen, and several other cities. The year 2005 brought the opening in Bern of the new Zentrum Paul Klee, designed by architect Renzo Piano. This facility now houses the largest collection of works by Klee (over four thousand works), many of which were donated or given on permanent loan by Livia Klee-Meyer, Paul and Lily Klee's daughter-in-law, and Alexander Klee, their grandson.
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  • The State of Art Criticism

    The State of Art Criticism

    Page 1 The State of Art Criticism Art criticism is spurned by universities, but widely produced and read. It is seldom theorized, and its history has hardly been investigated. The State of Art Criticism presents an international conversation among art historians and critics that considers the relation between criticism and art history, and poses the question of whether criticism may become a university subject. Participants include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett, and Boris Groys. James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. 08:52:27:10:07 Page 1 Page 2 The Art Seminar Volume 1 Art History versus Aesthetics Volume 2 Photography Theory Volume 3 Is Art History Global? Volume 4 The State of Art Criticism Volume 5 The Renaissance Volume 6 Landscape Theory Volume 7 Re-Enchantment Sponsored by the University College Cork, Ireland; the Burren College of Art, Ballyvaughan, Ireland; and the School of the Art Institute, Chicago. 08:52:27:10:07 Page 2 Page 3 The State of Art Criticism EDITED BY JAMES ELKINS AND MICHAEL NEWMAN 08:52:27:10:07 Page 3 Page 4 First published 2008 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2007.